Kansas City Times, January 13, 1979

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Costello LP hides in obscurity


Arthur S. Brisbane

Elvis Costello and the Attractions / Armed Forces

The further Elvis Costello progresses in his startling career, the deeper he buries his message In layers of musical and verbal obscurity.

He is responding to what he calls "Emotional Fascism." By this, Costello refers to a popular culture that congeals around us, leaves us too few choices and tells us, in effect, what we like and don't like.

Costello's lyrics combat this oppression with surprising images. His songs are about strange, real things that happen while the television set is on. The "party girls" of Elvis Costello never behave very nicely. His pleasant subjects are laced with sarcasm and his gloomy ones with wryness.

Costello treads a very thin line. In public, he has denounced the airwaves and the machinery of pop music. This said, Costello continues to sell records, even as he lashes out at the hand that feeds him.

But all of this purposeful confusion and stagey pronouncement has a limited appeal.

And Costello's third album, Armed Forces, suggests that the former computer programmer may be backing himself into a corner. While the songs dig deeper into lyric obscurity — leaving faithful fans struggling to find his meaning — Costello waffles musically.

Producer Nick Lowe and Costello have combined for a far richer sound than the spare, nervous feel of the first two records. Armed Forces uses more keyboard sounds, and on one cut at least, "Accidents Will Happen," Costello actually sings over an understated synthesizer arrangement.

Costello's snappy melodies are in evidence. "Senior Service" accelerates with a jittery, rising line and catchy beat. "Oliver's Army," a tip-of-the-hat to early '60s pop, combines Costello's impressive command of harmony and original songwriting. The cut is one of the album's best because even as the Englishman infects you with a fine, upbeat number, it slowly becomes apparent that he's singing, "I would rather be anywhere else but here today."

In his first two albums Costello sounded primitive, in his instrumental style. That was part of his appeal—Costello as an atavistic musical hero. But with the substantial embellishing of his sound on this record, Costello relinquishes some of his underground appeal.

Further, Armed Forces is encumbered by several songs that simply don't make it. "Goon Squad," "Busy Bodies" and "Chemistry Class," for this listener at least, sound loud and limp.

Ironically, while Costello plays hide-and-seek with his audience, the best song on Armed Forces is a straight-forward, energetic rocker that means what it says: "(What's So Funny 'Bout) Peace, Love and Understanding." Wailing on his vocal, while the band steams behind him, Costello speaks his mind on this one and rivals Bruce Springsteen for intensity of feeling.

Any assessment of Costello's work must include several important factors. First, he burst onto the scene in late 1977, the first artist to marry the musicality of Beatles-type rock with the New Wave. Second, his cult appeal grew quickly and heatedly. Third, Columbia Records responded n due course, having now issued Costello's third album in little more than a year.

So how can a former computer programmer play elusive and stay current at the same time, while pronouncing his disdain all the while? It's a confusing spectacle.

Don't be surprised, then, to find Costello on Armed Forces plying obscurity, succeeding where he's straightforward, and seeking somewhat aimlessly a newer version of his instrumental sound.


Tags: Armed ForcesThe AttractionsEmotional FascismParty GirlRadio, RadioNick LoweAccidents Will HappenSenior ServiceOliver's ArmyGoon SquadBusy BodiesChemistry ClassBruce Springsteen(What's So Funny 'Bout) Peace, Love And Understanding?

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Kansas City Times, January 13, 1979


Arthur S. Brisbane reviews Armed Forces.

Images

1979-01-13 Kansas City Times page 8C clipping 01.jpg
Clipping.

Page scan.
1979-01-13 Kansas City Times page 8C.jpg

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